In Action (EP)
In Action is the second EP from rock band We Are Scientists. The album was released in October 2003. "Selective Memory" "Coming Clean" "That One Pop Gem" "Riffmaster B" "Secret Handshake" "Bomb Inside the Bomb" Official website What's The Word
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet
Funny Looking Angels
Funny Looking Angels is a collaborative Christmas album recorded by English musicians Tom Smith and Andy Burrows. It was released on 25 November 2011 through Kitchenware Records; the album contains four covers: "Only You" by Yazoo, Black's "Wonderful Life", "Funny Looking Angels" by Delta, "On and On" by Longpigs. "Funny Looking Angels" was released. The second single, "When the Thames Froze", was released on 12 December 2011, it has peaked at number 32 on the UK Indie Chart, entered national charts in Belgium and the Netherlands. Funny Looking Angels received favourable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 63, based on 9 reviews. Smith & Burrows at the Wayback Machine
Rules Don't Stop
"Rules Don't Stop" is the first single to be released from We Are Scientists' fourth studio album Barbara. It was debuted at number 14 on the UK Indie Chart; the song features on the video game DiRT 3, FIFA 11, the PlayStation 3 game MLB 10 The Show. The music video only shows vocalist/guitarist Keith Murray and bassist Chris Cain, without their new drummer Andy Burrows, they have different coloured backgrounds and are sometimes pictured with boxed heads only showing their mouth region. "Rules Don't Stop" debuted on the UK Indie Chart at number 14 on 11 April 2010. Official website
TV en Français
TV en Français is the fourth studio album by the indie rock band, We Are Scientists. The album was released on March 2014 through 100 % Records and Dine Alone Records, it features guest appearances by Rose Elinor Dougall. The album charted at #36 in the UK Albums Chart and #5 in the Indie Chart in the week of its release. A new album was first teased by the band at The Isle of Weight Festival 2011, where Murray suggested the band would be recording in Autumn that year, it was in 2012 that the band began recording new material, working with producer Chris Coady in New York City, where both Keith Murray & Chris Cain reside. The band worked in a number of New York studios, predominately The Magic Shop, DNA Studio and Ash's home studio Atomic Heart. In December 2012 that drummer Andy Burrows confirmed that they had finished work on their new album, with intent to release in early 2013. In January 2014, the band announced that the album would be released on March 3, 2014 through 100% Records and would be titled TV en Français.
Accompanying the album announcement was the music video for new single "Dumb Luck." Soon after the announcement the band revealed another new track titled "Make it Easy,", made available to download to those who pre-ordered the album. The band appeared for a third time on The Late Show with David Letterman on May 21, 2015, performing single "Make It Easy." Due to the fact the band had recorded without a record label, had fired their management after Barbara the band spent a lot of 2013 label shopping and looking for new management. Realising they would be unable to put the album out that year, the band released a two-track single featuring the songs "Something About You" and "Let Me Win." The single was released through their own record label Master Swan Records and Neon Gold Records on July 16. New material was further previewed across a string of UK tour dates in July; the band signed to release the finished album with 100% Records, putting out a teaser EP titled Business Casual on October 14, 2013.
The EP includes lead singles "Return the Favor" and "Dumb Luck" along with album off cut "Good Answer," a demo of new track "Courage" and a cover of Berlin's "Take My Breath Away" - which features occasional scientist Max Hart on pedal-steel guitar. Andy Burrows had recorded drums for the album and subsequent EP and singles, but by the time the band were able to release and tour, Burrows was busy with his solo career; this led to Keith Carne taking over the majority of live commitments, with Burrows stepping in for occasional dates, depending on his availability. "Something About You"/"Let Me Win" was the first material from the album sessions, although the tracks only appear on the bonus disc of the finished album. "Something About You" premiered on July 10, 2013, with "Let Me Win" premiering a week later. The tracks made up a split 7" vinyl release through the band's own label Masterswan Records and Neon Gold Records and were released on July 16, 2013. "Return the Favor" was first premiered on September 20, 2013 in a music video directed by their frequent collaborator, Dan Monick.
The track would feature as part of an EP release, titled Business Casual released before the album on October 14, 2013. "Dumb Luck" premiered on October 7, 2013 through Clash before its release as part of the Business Casual EP on October 14. The music video premiered on January 13, 2014 and was directed by Noah Conopask. "Make it Easy" was released as a single January 13, 2014 through digital music stores, additionally made available to anyone who preordered the album. The music video was directed by Melissa Tomjanovich. Tim Wheeler and We Are Scientists drummers Keith Carne and Danny Allen all feature as the videos masked aliens; the following day the band made a third appearance on The Late Show with David Letterman performing the track. A music video for "Sprinkles" was premiered through Stereogum on April 24, 2014; the video was directed by James Perou. At Alternative Press, Jason Schreurs rated the album three-and-a-half stars out of five, saying that "With some pop, college rock, post-punk and shoegaze thrown in for good measure, TV En Francais is the most complete We Are Scientists record."The album entered the UK Chart at #36.
All music composed by We Are Scientists. We Are ScientistsKeith Murray – acoustic and electric guitars, keyboards and whistle Chris Cain – bass, vocals Andy Burrows – drums, keyboards and whistleSession musiciansChris Coady – keyboards and whistle Tim Wheeler – vocals Anthony Rossomando – vocals Rose Elinor Dougall – vocalsTechnical personnelChris Coady – production Tim Wheeler – engineering Claudius Mittendorfer – engineering James Brown – assistant mixing Joe LaPorta – masteringDesignDan Monick - art direction/photography Dylan Haley - art direction/package design Official website What's The Word
For Esmé—with Love and Squalor
"For Esmé—with Love and Squalor" is a short story by J. D. Salinger, it recounts a sergeant's meeting with a young girl before being sent into combat in World War II. Published in The New Yorker on April 8, 1950, it was anthologized in Salinger's Nine Stories two years later; the short story was popular with readers. According to biographer Kenneth Slawenski, the story is “widely considered one of the finest literary pieces to result from the Second World War. Author Paul Alexander calls it a "minor masterpiece"; when Salinger submitted the story to The New Yorker in late 1949, it was at first returned, he reedited his manuscript, shortening it by six pages. The story begins with the narrator needing to respond to a wedding invitation that will take place in England, which the narrator will not be able to attend, because the date of the wedding conflicts with a planned visit from his wife's mother; the narrator does not know the groom, but he knows the bride, having met her six years earlier. His response to the invitation is to offer a few written notes regarding the bride.
The first of the two episodes the narrator relates occurs during a stormy afternoon in Devon, England, in 1944. A group of enlisted Americans are finishing up training for intelligence operations in the D-Day landings, he takes a solitary stroll into town, enters a church to listen to a children's choir rehearsal. One of the choir members, a girl of about thirteen, has a presence and deportment that draws his attention; when he departs, he finds that he has been strangely affected by the children's "melodious and unsentimental" singing. Ducking into a tearoom to escape the rain, the narrator encounters the girl again, this time accompanied by her little brother and their governess. Sensing his loneliness, the girl engages the narrator in conversation. We learn that her name is Esmé, that she and her brother Charles are orphans – the mother killed in the Blitz, the father killed in North Africa while serving with the British Army, she wears his huge military wristwatch as a remembrance. Esmé is bright, well-mannered and mature for her age, but troubled that she may be a "cold person" and is striving to be more "compassionate".
In the next episode, the scene changes to a military setting, there is a deliberate shift in the point-of-view. Allied forces occupy Europe in the weeks following V-E Day. Sergeant X is stationed in Bavaria, has just returned to his quarters after visiting a field hospital where he has been treated for a nervous breakdown, he still exhibits the symptoms of his mental disorder. "Corporal Z", a fellow soldier who has served with him and callously remarks upon the Sergeant's physical deterioration. When Clay departs, Sergeant X begins to rifle through a batch of unopened letters and discovers a small package, post-marked from Devon a year before, it contains a letter from Esmé and Charles, she has enclosed her father's wristwatch - "a talisman"- and suggests to Sergeant X that he "wear it for the duration of the war". Moved, he begins a recovery from his descent into disillusionment and spiritual vacancy, regaining his "faculties"; as the war receded in memory, America was embracing an "unquestioned patriotism and increasing conformity", a romantic version of the war was replacing its devastating realities.
Salinger wished to speak for those who still struggled to cope with the "inglorious" aspects of combat."For Esmé—with Love and Squalor" was conceived as a tribute to those Second World War veterans who in post-war civilian life were still suffering from so-called "battle fatigue" – post-traumatic stress disorder. The story served to convey to the general public what many ex-soldiers endured. Salinger had served as a non-commissioned officer of intelligence services at the European front – the narrator "Sergeant X" is "suspiciously like Salinger himself"; the story is more than a personal recollection. Slawenski points out that “though we may recognize Salinger in Sergeant X’s character, veterans of the times recognized themselves." In Lemony Snicket's A Series of Unfortunate Events and the subsequent Netflix series, Esme Squalor's name is a reference to this short story. The track "Letters & Packages" from American Football's American Football EP contains many lyrical references to this short story.
In 1963, film and TV director Peter Tewksbury approached Salinger about a making film version of the story. Salinger agreed, on condition that he himself cast the role of Esmé, he had in mind for the role Jan de Vries, the young daughter of his friend, the writer Peter de Vries. However, by the time that Salinger and Tewksbury had settled on the final version of the script, Jan had turned eighteen and was considered by Salinger to be too old for the part; the film was never made. Slawenski, Kenneth. 2010. J. D. Salinger: A Life. Random House, New York. ISBN 978-1-4000-6951-4
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro